South Koreans are obsessed with Netflix’s ‘K-pop Demon Hunters.’ Here’s why

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SEOUL – When South Koreans become overly enthusiastic about a movie or TV show, they often shorten its name, such as Netflix’s current sensation “K-pop Demon Hunters.” In various media headlines and throughout the internet, this American production is now commonly known as “Keh-deh-hun,” which represents the first three syllables of the title when pronounced in Korean.

And audiences are already clamoring for a sequel.

The cartoon storyline revolves around a made-up South Korean girl band called “HUNTR/X”, which consists of characters named Rumi, Mira, and Zoey. Their mission is to save the world by using their musical abilities and the influence of K-pop fan culture.

Ever since its debut in June, it has broken records as Netflix’s most-watched original animated film globally, amassing millions of views across regions like the U.S. and South Korea. Its soundtrack even reached number one on Melon, a popular music streaming platform in South Korea. To top it off, fans have emptied the gift shop at the National Museum of Korea due to a traditional tiger pin inspired by one of the film’s characters being sold out.

The film’s appeal in South Korea stems largely from its accurate depictions and references to Korean folklore, pop culture, and national customs, which can be attributed to the production team being made up of K-pop enthusiasts, and also a research trip to South Korea led by co-director Maggie Kang for detailed documentation, even down to the look of local sidewalks.

The artwork exhibits influences from ancient Korean folk art, depicts a Korean version of the afterlife, showcases the ancestors of K-pop, and captures common Korean behaviors. For instance, in a dining scene, you may observe that the utensils are placed on a napkin, which is customary when eating out in South Korea, along with serving water for everyone at the table.

As I delve deeper into ‘Keh-deh-hun,’ the more intricate details I become aware of, shared recently by South Korean music critic Kim Yoon-ha with local media. The level of authenticity it portrays is such that it leaves any Korean spectator in a state of wonder.

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Although it’s linked to the “K-wave,” a broad term for any Korean cultural export, and its title suggests K-pop, “K-pop Demon Hunters” doesn’t entirely align with this classification when viewed closely.

The movie, titled “Produced by Sony Pictures and directed by Kang and Chris Appelhans (who has worked on animated films like ‘Coraline’ and ‘Fantastic Mr. Fox’), is primarily in English and caters to a global audience, with South Korea being a significant market where it’s also gaining popularity. This suggests that the influence of Korean pop culture, or Hallyu, is becoming more fluid, and as more Korean diaspora artists contribute to the industry, this cultural exchange can flow both ways.

Music boundaries have been shattered for quite some time now: many K-pop musicians and lyricists originate from outside Korea or are part of the broader Korean community, demonstrating the genre’s heritage of international inspirations like Japanese pop or American rap music.

As K-pop has become universal, it can no longer be contained within South Korea’s borders, according to Kim Il-joong, head of the content business division at the Korea Creative Content Agency. This agency aims to spread South Korean content globally. In essence, despite its name, K-pop is truly a worldwide product.

In “K-pop Demon Hunters,” we find Zoey, a rapper hailing from Burbank. Moreover, the soundtrack was crafted by an ensemble consisting of producers, artists, and choreographers who are connected to some of the most prominent K-pop groups of the last ten years.

Modern streaming series are often produced across multiple countries, such as “Pachinko” from Apple TV or “XO, Kitty” from Netflix, which were filmed in South Korea but originally produced in the USA. However, few productions have sparked the same level of excitement as “K-pop Demon Hunters,” a series that resonates with many South Koreans due to its authentic portrayal of local quirks and contemporary living conditions.

In their private jet, the three girls opt to sit on the floor instead of using the nearby sofa, a quirky habit that often sparks amusement and intrigue among many South Koreans. This age-old custom of floor seating seems almost impossible to break away from.

South Korean supporters and press have observed that the speakers accurately say “ramyeon,” or South Korean instant noodles. This is significant because “ramyeon” is frequently confused with Japanese ramen, a confusion that has long frustrated many South Koreans and local ramyeon manufacturers. They emphasize that while Japanese ramen provided the initial inspiration, the Korean version has since developed into something unique on its own.

In South Korea, it’s essential to pronounce certain words correctly, such as “rah myun,” which may seem minor to some, but it can significantly impact communication and interactions there.

During their flight, the girls’ strong desire for ramen attracted the attention of Ireh, a band member from the actual South Korean girl group Purple Kiss. She commended the movie’s depictions of what it’s like to be a K-pop artist.

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While flying, the girls’ keen appetite for ramen was noticed by Ireh, a real-life member of the South Korean girl group Purple Kiss. She appreciated the film’s representation of life as a K-pop performer.

In a recent interview, she shared that while she doesn’t typically consume ramen, when she goes on tour, she tends to eat it instead. It brought back memories of my own habits.

South Korean fans have likewise taken pleasure in two creatures, Derpy and Sussy, that draw inspiration from the jakhodo style, a traditional Korean folk painting genre featuring tigers and magpies side by side. This artistic motif gained prominence during the Joseon Dynasty in the 19th century.

In the movie, Derpy is the luminous tiger character with bulbous eyes who is frequently accompanied by a three-eyed avian friend called Sussy.

In the past, tigers were formidable and feared creatures that roamed the Korean peninsula. They were even seen as guardians against evil spirits. However, just like the character Derpy, the art form jakhodo depicted tigers in a friendlier, sometimes comical light. This shift could be interpreted as a reflection of the political climate at that time, with the audacious magpie, even in the presence of a predator like the tiger, symbolizing the common people standing up against the nobility.

The film includes numerous tributes to influential Korean artists from history who are credited with pioneering modern K-pop. Noticeable references can be spotted towards the “Jeogori Sisters,” a three-member group active between 1939 and 1945, frequently referred to as Korea’s first girl band, followed by the Kim Sisters, another successful trio who gained fame in America, performing in Las Vegas and gracing “The Ed Sullivan Show.

Veteran K-pop enthusiasts might recall the demon hunters as the group S.E.S., a trailblazing girl band produced by S.M. Entertainment, the same label that launched today’s sensations Aespa and Red Velvet. Notably, Bada, S.E.S.’s primary vocalist, has recently performed the main track “Golden” from a film on YouTube.

As a devoted cinephile, I’ve got to say, for quite some time now, South Korean viewers like myself have voiced concerns about foreign films not accurately portraying our homeland. But that’s a thing of the past!

For a change, Korea was not portrayed as a secondary element, as has been the case before,” said Kim. “The series ‘K-pop Demon Hunters’ excellently captured Korea’s essence, making it easily identifiable for viewers.

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2025-08-02 13:31